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The term Lallans was also used during the Scottish Renaissance of the early 20th century to refer to what Hugh MacDiarmid called synthetic Scots, i.e., a synthesis integrating, blending, and combining various forms of the Scots language, both vernacular and archaic. This was intended as a classical, standard Scots for a world-class literature, although it was more often than not Scots words grafted on to a standard English grammatical structure somewhat removed from traditional spoken Scots, its main practitioners not being habitual Lowland Scots speakers themselves.

"In addition, the present century has seen the conscious creation of a ‘mainstream’ variety of Scots—a standard literary variety, [...] referred to as ‘synthetic Scots’, now generally goes under the name Lallans (=‘Lowlands’). [...] In its grammar and spelling, it shows the marked influence of Standard English, more so than other Scots dialects."[6]

MacDiarmid's detractors often referred to it as plastic Scots — a word play on synthetic as in synthetic plastics — to emphasize its artificiality. William Shakespeare also indulged in similar activities using the English language but has never been accused of writing synthetic or plastic English. With this in mind Sydney Goodsir Smith answered critics in his Epistle to John Guthrie:

We've come intil a gey queer time

Whan scrievin Scots is near a crime,

'There's no one speaks like that', they fleer,

-But wha the deil spoke like King Lear?

In Ulster the neologism Ullans merging Ulster and Lallans is often used to refer to a revived literary variety of Ulster Scots. The magazine of the Ulster-Scots Language Society is also named Ullans.